This thesis traces the design and production of a meal: an event in the form of a “pop-up” restaurant called Fodder. Following theoretical trajectories set out by critical design-related practices, this meal, construed as a designed outcome, attempts to address cultural and socio-political issues, and thus functions as a kind of embodiedly discursive object. The issue at hand is consumers’ knowledge of food production methods. In food-systems discourses, consumers’ knowledge of production is often posited as an effective lever against the negative forces of the corporate, agro-industrial complex. Meat presents an acute case in this context. Activists’ calls for transparency in the livestock industry are increasingly countered with not only a commodified spectacle of rearing and slaughter, but with an ethically infused valorization of meat production. With transparency having thus become a kind of banner for which consumers, distributors, producers, and advocates compete, the presumed transformative efficacy of knowledge warrants analysis. The meal takes this premise—that to eat “right” requires knowledge—as a starting point for making the discourses around meat, food ethics, animal ethics, and knowledge explicit. The eater is offered a meal with ingredients based on the feedstuffs used to raise cattle, which simultaneously presents an opportunity to “get to know” the animal that’s served as the final course. By conflating human and non-human animal bodies via the blurring of distinctions between feed and food, the meal attempts to channel a desire to “know” another’s body into empathy. Whether gaining such epistemic proximity to the animal can prompt any substantive shift in disposition to the animal agriculture, is a question Fodder asks of its eaters, as well as of its own embodiedly discursive design methodology.